Fleetwood Mac - Mr. Wonderful (1968 Blues-Rock [Καλά εξώφυλλο με τον Ψάλτη έβγαλαν αυτοί;])

Although it made number ten in the U.K., Fleetwood Mac's second album was a disappointment following their promising debut. So much of the record was routine blues that it could even be said that it represented something of a regression from the first LP, despite the enlistment of a horn section and pianist Christine Perfect (the future Christine McVie) to help on the sessions. In particular, the limits of Jeremy Spencer's potential for creative contribution were badly exposed, as the tracks that featured his songwriting and/or vocals were basic Elmore James covers or derivations. Peter Green, the band's major talent at this point, did not deliver original material on the level of the classic singles he would pen for the band in 1969, or even on the level of first-album standouts like "I Loved Another Woman." The best of the lot, perhaps, is "Love That Burns," with its mournful minor-key melody and sluggish, responsive horn lines. Mr. Wonderful, strangely, was not issued in the U.S., although about half the songs turned up on its stateside counterpart, English Rose, which was fleshed out with some standout late-'60s British singles and a few new tracks penned by Danny Kirwan (who joined the band after Mr. Wonderful was recorded).

AMG Review by Richie Unterberger

Fleetwood Mac - Kiln House (Superb Blues-Rock 1970)

Fleetwood Mac was still primarily a blues band on this, their first album after the departure of founder/nominal leader Peter Green. But the remaining members, Mick Fleetwood, John McVie, Jeremy Spencer, and Danny Kirwan (plus McVie's wife, Christine, not yet officially part of the group) started broadening the band's use of blues into other contexts, and adding new influences in the absence of Green's laser-like focus. Jeremy Spencer's fascination with American rock & roll manifests itself on the album opener, "This Is the Rock" (which crosses paths with Elvis Presley's Sun Records sides), whilst "Hi Ho Silver" is a higher-wattage shouter covering the same territory that Spencer explored with the band (sans Green) on "Someone's Gonna Get Their Head Kicked in Tonight," only with a little more subtlety and grace; and his tribute to Buddy Holly, "Buddy's Song," even outdoes the classic Joe Meek/Mike Berry "Tribute to Buddy Holly" as a memorial to the late rock & roll star — and it was always too good and sincere to be mistaken for part of any oldies revival. "Jewel Eyed Judy" and "Earl Gray" are two superb showcases for Danny Kirwan, the former as a vocalist and player and the latter as a composer and guitarist in tandem with Spencer, in what was a pretty good successor to the Green-era instrumental hit "Albatross." "One Together" shows off a harmony-vocal side to this band that was something new in 1970, on one of the prettiest tunes they ever had to work with. And Kirwan gets the spotlight once again as a guitarist on the hard-rocking "Tell Me All the Things You Do." The album ends with the lyrical, relaxed McCartney-esque folky pop of "Mission Bell," which seemed to point the way toward their future direction. None of this may be as intense as the music they cut with Peter Green running the show, but in its relaxed way Kiln House represents the same virtuoso blues-rock outfit having a little fun while making a record — think of it as roughly Fleetwood Mac's equivalent to the Rolling Stones' Between the Buttons.

AMG Review by Bruce Eder & William Ruhlmann

Fleetwood Mac - Mystery to Me (1973 Blues-Rock)

At this point, the band was best-known as a British blues unit. Slowly but surely the band was becoming more acclimated with a production style that was reminiscent of the California pop sound. With the majority of the blues and psychedelic behind them, Mystery to Me finds Fleetwood Mac in a more ruminative vein. American guitarist Bob Welch established that path. Despite the all-encompassing ethos, Welch's songwriting skills made him walk a fine line between the mystical and the silly. But luckily most everything works here. The leadoff song, the laid-back "Emerald Eyes" matches Welch's spacey lyrics and vocals as Christine McVie provides great backing help. The album's best track, the gorgeous and lyrically strong "Hypnotized" has Welch matching an effortless, soothing croon with jazzy guitar riffs. Throughout Mystery to Me the amazing and almost telepathic drums and bass of Mick Fleetwood and John McVie give this effort more panache and muscle than was represented on this effort's predecessor, Bare Trees. The best Bob Welch offering, "Keep on Going," has a strong, soulful string arrangement and Christine McVie's customary sensual and poised vocals. The only weak spot is the ill-advised cover of "For Your Love" that's steeped in hackneyed, post-psychedelic style. Mystery to Me's interesting sound is directly attributed to the fact that it was recorded on the Rolling Stones Mobile Unit. This effort is custom-made for those who like thoughtful offerings and is a valuable set in the scheme of the band.

AMG Review by Jason Elias

Fleetwood Mac - Future Games (1971 Blues-Rock)

By the time of this album's release, Jeremy Spencer had been replaced by Bob Welch and Christine McVie had begun to assert herself more as a singer and songwriter. The result is a distinct move toward folk-rock and pop; Future Games sounds almost nothing like Peter Green's Fleetwood Mac. Welch's eight-minute title track has one of his characteristic haunting melodies, and with pruning and better editing, it could have been a hit. Christine McVie's "Show Me a Smile" is one of her loveliest ballads. Initial popular reaction was mixed: the album didn't sell as well as Kiln House, but it sold better than any of the band's first three albums in the U.S. In the U.K., where the original lineup had been more successful, Future Games didn't chart at all; the same fate that would befall the rest of its albums until the Lindsey Buckingham-Stevie Nicks era.

AMG Review by William Ruhlmann

Fleetwood Mac - Bare Trees (Beautiful Blues-Rock 1972)

Arguably the first consistently strong album Fleetwood Mac ever recorded -- all the way back into the Peter Green/Jeremy Spencer era, the Mac's albums had previously consisted of individual moments of brilliance in a sea of uninspired filler -- 1972's Bare Trees is also the album where the band finally defines its post-blues musical personality. Low-key but less narcoleptically mellow than 1971's sleepy Future Games, Bare Trees is a singer/songwriter album in the traditional early-'70s style, backed up with just enough musical muscle to keep from sounding like weedy soft rock in the manner of Bread or Cat Stevens. This is the one Fleetwood Mac album on which singer/guitarist Danny Kirwan is the dominant figure, writing five songs to Chistine McVie and Bob Welch's two apiece. Impressively, all three writers get off a small masterpiece on side two; McVie's "Spare Me a Little of Your Love" sounds like a dry run for the string of hits she would start writing with 1975's Fleetwood Mac, and it's her first really good pop song. By comparison, Kirwan and Welch's best songs are all-time career highlights. Kirwan's "Dust" combines a gentle, gliding melody with resigned, melancholy lyrics and his most memorable chorus. Welch's "Sentimental Lady" was, of course, his first solo hit in its 1977 re-recorded version, but this original take is far superior, and one of the great lost pop songs of the early '70s. Outfitted with a terrific vocal melody, hooks galore, and an impressive tremolo guitar solo, "Sentimental Lady" is perhaps a little trite lyrically, but it's a heartfelt and lovable tune regardless, and the best thing Fleetwood Mac did in the years between "Albatross" and "Over My Head." The rest of the album is less magical, but the instrumental "Sunny Side of Heaven" and the downright funky "Danny's Chant" are impressive in their use of atmospheric arrangements and so point toward the subtle but effective production choices that would make Fleetwood Mac and Rumours among the most listenable albums of their time. Bare Trees isn't in that league, but it shows that after five years of false starts and failed experiments, Fleetwood Mac were finally on their way.

AMG Review by Stewart Mason